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C NOTATION 



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BY 



G. L. LANSING 

WHITESMITH MUSIC PUBLISHING C?, 

BOSTON NEW YORK CHICAGO 

Coprniht. 191ft, by Whn«.3m.ih Muak Publuainc Co. 






HI 



C NOTATION 



Excelsior Method 



FOR THE 



BANJO 

BY 

G. L. LANSING 



WHITFI-SniTH HUSIC PUBLISHING CO. 

BOSTON NEW YORK CHICAOO 

Copyright. 1918, by White-Smith Music Publishing Co. 



CONTENTS 

Instruction Section 



■.2tj,[<jl-6 



3 Elements of Musiif '•.' V « : '* 
Staff, Notes and Rests * '*' 

4 Dotted Notes and Rests 
The Clef 

5 Time, Measure and Bar 
Accidentals 

The scale 

6 Different Kinds of Scales: Major and Minor 

7 The Chromatic Scale (See Page 26) 
Miscellaneous Characters 

8 Ornaments: Appoggiaturas and the Gruppetto or Turn 

9 The Trill or Shake 

10 Tremolo, Arpeggios and Other Signs 

11 The Banjo (Description) 
The Strings and Bridge 
How to Tune the Banjo 

12 Holding the Banjo: Positions of the Hands and Arms 
Sign for Fingering 

Diagram of the Finger-board (Showing the Chromatic 
Scale on Each String) 

13 Rules for Proper Tone Production 
Exercise on the Open String 
Scale and Chords in C major 

14 Scale Exercises 

15 The Slide 

16 Scale and Chords in A minor 

17 Scale and Chords in 6 major 

18 Elevating the 4th String 
Scale and Chords in E minor 
Etude in E minor 



19 The Positions and Examples 

20 Scale and Chords in F major 
Scale and Chords in D minor 

22 Scale and Chords in D major 
Scale and Chords in B minor 

23 Scale and Chords in Bt» major, G minor, Ep major, 
C minor and Av major 

24 Exercises in Intervals of Thirds, Sixths, Octaves and 
Tenths 

Etude 

25 Scale and Chords in F minor, A major, F$ minor, 
E major and C$ minor 

26 The Chromatic Scale (See Page 7) 
Arpeggios or Broken Chords 

27 The Tremolo and Exercise 
Melody with Accompaniment 

28 Etude in Chords 

29 Etude 

30 Exercise for Stretching the Fingers 
Etude 

31 Exercises for Rapid Fingering 
42 Etude in F major 

54 The Plectrum Style of Playing 

Signs for Plectrum Strokes with Examples 

55 Plectrum Exercises 

56 The Plectrum Tremolo with Examples 

57 Important Exercises 
Exercise for Speed 

58 Easy Melodies (Plectrum Style) 

59 Scale and Etude in G major with Plectrum 



Compositions and Arrangements 



15 Alabama Echoes 

61 All the Rage (One-Step) 

62 Arkansas Traveller 

59 Banjoists' Delight March 

16 Banjo Juba (A minor and C major) 

38 Harmonies 

18 Beauty Dream Waltz 

35 Bolero Mexicana 

64 Cadet's Dream, The (Patrol) 

34 Chieftain, The (March and Two-Step) 

48 "Cold Chill! - ' Blues 

22 Dancing Shadows 

21 Danse Espanol 

40 Dixie Maid (Fox Trot) 

39 Fishers' Hornpipe 

36 Georgia Glide, A (Strut) 

52 Golden Bird (Polka di Concert) 
20 Honeymoon Caprice 

37 In Banjo Land (Characteristic) 

<33 In Moon-Land (Intermezzo, Two-Step) 

41 Iona(Intermezzo) 



16 March Melody 

49 March Militaire 
14 Melody- Banjo Shuffle 
62 Minerva (Waltz) 
47 Minor Gigue 
46 Minstrel Melody 

27 My Old Kentucky Home 
42 Old Pennyroyal 
39 Old Time Reel 

32 Old Town Medley (Virginia Reel) 
29 Serenade 

19 Spanish Fandango, The 
60 Spanish Galopade 

28 Song Without Words 

17 Students' Favorite 
45 Waltz in A flat 

50 Waltz-Medley for Two Banjos 
15 Waltz Petite 
43 Wooden Shoes (Dance Characteristic) 



'5164-64 



ELEMENTS OF MUSIC. 



The principal characters used to express music are NOTES, which represent musical sounds,and RESTS, 
which represent silence. 

These chararacteis are written upon the STAFF, a anion of 5 lines and the 4 spaces between. 

THE STAFF. 



Lines. 



Spaces. = ^g: 



NOTES AND RESTS. 



The different kinds and their names. 



NOTES. 



Whole note. Half note. Quarter note. Eighth note. Sixteenth note. Thirty - second note, sixty - fourth note. 



o 



; 



RESTS. 



TFholenote Half note Quarter note Eighth note Sixteenth note Thirty - second note Sixty fourth nott 
rest. rr*t. rest. rest. rest. rest. rest. 



I 



Table showing the relative time-value of notes. 



\ u hole note is equal 

in 1 1 hi •■ - \ .i 1 u«- to 

2 Half notes 

01 

1 Qnarter notes 

Of 

8 l' \g\ U notes 

Id Sixteenth notes 

or 
32 1 liii is second notes. 



* 



-w»- 



-*- 



' 



I "si\t\ t. in i!i n i p 



The saw i ale applies il-" t.. the H 



DOTTED NOTES AND RESTS. 



A Dot after a note or vest increases the time-value one half. 

Dotted Notes and Rests and their Equivalents. 

A dotted Whole Note or Best A dotted Half Note or Rest A dotted Quarter Note* or Rest 



n w* • I 


1 ^ "I 


i ± -i 


is equal to 3 Half Notes or Rests. 

J J J 


: w_J 

is jequal to 3 Quarter Notes or Rests. 

r J J J 


1 t- 1 

is equal to 3 Eighth Notes or Rests. 

J> i) — Js 


— ■ m ■ 


1 it t =t^=l 


1 j T ¥ II 



A dotted Eighth Note or Rest A dotted Sixteenth Note or Rest A dotted Thirty- second Note or Rest 

= A 



A 



I 



=p 



^ 



is equal to 3 Sixteenth Notes or Rests, 

■ i) i i i 



is equal to 3 Thirty-second Notes orRests.\ is equal to 3 Sixty-fourth Notes or Rests 



T~T~J 



f=r=t 



•7 ? * 



A second dot after a note or rest adds to the time- value of the note or rest, one half the value of the first dot. 
Thus a double -dotted Half Note(o««) is equal to 3 Quarter Notes and 1 Eighth Note ( J J J_f))> and a double- 
dotted Quarter Note ( J- ) to 3 Eighth Notes and 1 Sixteenth Note( K K K h ) and so on. Double dotted Rests have 
the same relative time- values as corresponding 1 notes. 

THE CLEF. 

The CLEF is a character usually placed at the beginning of the Staff to indicate the Musical Pitch of the notes 
mitten thereon. 

For all the higher instruments such as the FLUTE, VIOLIN, OBOE, CLARINET, CORNET, HORN, GUITAR, MAN- 
DOLIN and also the BANJO, FLAGEOLET, FIFE, CONCERTINA, ACCORDE ON and some others, a Clef called the G 
Clef is used. It fixes the tone G upon the 2d line of the Staff. —61 — G_ 



GClef.jffij 



-o- 



or Treble Clef. 



For instruments of a lower compass such as the VIOLONCELLO, DOUBLE BASS, BASSOON,TROMBONE,TUBA 

F 
FClef. ^) : ° o r Bass Clef. 



and others, a Clef caUed the F Clef is used. It fixes F upon the 4th line of the Staff « 



A Clef called the C Clef is used especially for the VIOLA and fixes C upon the middle line of the Staff. 

AJjIO CLEF. TEAOB CLEF. TREBLE CLEF. BASS CLEF. 

This is called the Alto Clef. When placed ||»> ^ fe C *" 



on the 4th line it is called the Tenor Clef. 



C Clef. 



-©- 



-cy- 



Same pitch a? 



s # 



or 



m 



-»- 



c 



In Music for the Violoncello, Bassoon and some others, several of these clefs are sometimes used. 



Music for the PIANO, ORGAN and HARP requires the use of both the G and the F Clefs, which are placed on sep- 
arate Staves connected by what is called a BRACE. 



EX. 



TIME, MEASURE & BAR. 

There are three kinds of Time, viz: _ Common, Triple k Compound Time. 

Examples of Common Time. - Examples of Triple Time. Examples of Compound Time. 

o o, * 2 * M 2 3 3 3, 6 9 12, 6 

C or 4» f' <P 0T ! 4' S' 8' 8' 8' 8 4 

The lower or the •«'<> figures indicates the kind of a note, and the upper, how ruany of that kind of a note arc contained in ameasmw 

Tims, 1 indicates that there are three quarter notes to a measure. 
4 

\ MEASURE is that portion of a musical composition contained between two single bars. A BAR is a perpendicu- 
lar line drawn through the staff, thus: E A DOUBLE BAR | is placed at the end of a piece of musio; some- 



times ai the end of a section (strain) thereof. A DOUBLE BAR with dots, thus: — rpE is called a repeat, and sig- 



nifies a repetition from the previous double bar, or the commencement of the piece. 

ACCIDENTALS. 

["he Sharp (#), Plat(b), Nataral(lf), Double Sharp (x) and Double Flat (M») are called ACCIDENTALS. 
Thej) before a note raiSM it a Semitone (half tone). The \> before a note lower* it a Semitone. 

Then Whole Tone. The W» " » » » ■ » Whole Tone; 

The D before a note removes a previous ^ or \>. 
The :5 before B note that has been double- sharped lower* it a Semitone. 
The ty double- flatted raises fl # A 



OiJi <? ? . 

The Sharps and Plats placed next to the Clef are called the Signature. EX.-ft% «*_.. or fr>" ? 



IIOTl I eh Mi n |> or Plat in the Nlgnatare affects that particular tone upon wMehU is placed ao Ions/ as it remains in the sin- 

ii 1 1 in .-. nnl'-s - ohanged i>> the introduetl if other accidentals In- ion- the notes. 

THE SCALE. 

\ sr\LE is a seiies ,,| Musical sounds, ascending or descending according to a system ><i tones .md Bcmitones. 
The first seven letters of the alphabet are applied to the seven principal tones of the s< lale. also the Italian mon- 
osyllahlM />» /.v Mi Fa Sol la Si, 

It has alreadj been ahon n that the Clef fixes Q opon the Cd line of the Staff. Prom this starting point all oth- 
er i"nes oan be letei mined. Vies extending above or below the i egolai degi ees of the Staff are written upon what 
a i e called LEDGER LINES, and the spaces between. 



i \ 

M 






6 . ./ Scale Ascending. I) p see tiding. 

G ABC D K E g G G F E D C B A G 

EX (f ^~' f '■' " " ? Sa o .. s£ 



5 T ? 



1 



NOTE. Observe ili.it th ( > seven letters Follow each other in regular alphabetical order, and that the eighth letter is always the satneas 
the first, w liichever one we begin with. It is therefore said to be an Octave (Stones) higher or lower than the first, accordingly as we go 
up or down. 

DIFFERENT KINDS OF SCALES. 

The Scale is the basis of all music. There are three kinds in common use: the Major Scale, the Minor Scale, and 

the Chromatic Scale. The Major Scale consists. of seven principal tones, viz: five whole tones, and two semitones. 

The semitones occur between the third and fourth, and the seventh and eighth decrees of the Scale. Degrees or in- 
tervals may be Major, M/no?yor PerfectfAi. ■ _ Major 25, Minor 2^', Major3<J, Minor 3d^ Perfect 4th, Perfect 5th 

The Major Scale. 

SCALE OF C MAJOR. 
The semitones are indicated by this sign 

456787654321 
ii 6 ^» O 



and so on up to the octaves. 



$ 



-^ © ; O- — ly 



c 


D 


E 


F 


G 


A 


B 


C 


B 


A 


G 


F 


E 


D 


C 


Do 


Be 


Mi 


Fa 


Sol 


La 


Si 


Bo 


Si 


La 


iS'ol 


#« 


Mi 


7?e 


2to 



All Major Scales have the same construction and the same order of intervals, ascending" or descending". 

The Minor Scale. 

Every Major Scale has its relative Minor. The Signature is the same in each, and the Key-note is a Minor Third 
(tone and ahalf ) below that of the relative Major Scale. Ex. *>3 ,, — It has also five tones and two semitones, 
but with a difference in the order of intervals. The semitones occur between the second and third, and seventh and 
eighth degrees of the scale ascending, and between ihe fifth and sixth and second&nd third degrees descending. 

SCALE OF A MINOR. (Relative to C Major.) 
Melodic Minor Scale. 

1 2 3 4 5 6 7 _^^. s I 76 54 32 1 

■o o ftp fl° "*• q° j^o -p 



i 



o *> ' " *> ^ 



33C 



B C D E ~f5 G| A ^G\\ Ftj~ ED C B A 

There are two kinds of Minor Scales in common use; the above which is called tie Melodic Minor Scale , and the 
following which is called the Harmonic Minor Scale. Observe the difference in the arrangement of the semitones. 

SCALE OF A MINOR. 
Harmonic Minor Scale. 

12 3 4 5 6 7 8 7 



m 



O "*» " " IT 



t» »J T ^ Q ff° *J tv 



:m 



^ A B C D E F ~~ G? A" G# F * E D C B A 
the Student will meet both forms in his subsequent practice, an example of each has therefore been given. 

f<4 



THE CHROMATIC SCALE. 

This Scale is composed of twelve semitones, and maybe formed upon any degree of the scale, major or minor 
hit ascending, the Sharp, Double- sharp, or Natural is employed in its formation, but in descenditig,the FlaA,Tio\ihle 
Flat, or Natural is used accordingly as there are sharps or flats in the signature. 



T -^ j t^ =^ 



fei 



P^P 



at* 



C ('jt D Hjt K F F# G «j( A A# B C 



i* 



^ 



ha 



a 



tt 



a 



tt 



w — ^ 



B Bl> \ Al> G (ib F E Kl> I) Dk C 



MISCELLANEOUS CHARACTERS. 



Notes baying a dot or dash over or under them are to be played short and detached. This is called Staccato. 

Half staccato. Rillstaccato. 

KX! -m^rfrrir" w,t - ry r y^7 i , yi h^»yV» fii 

Written: Played. — — 

This sign /Ts called a Hold, placed over a note or rest, prolongs it beyond its exact value. It is sometimes 
placed at the end of a piece instead of the word Fine, which means the end. 

The character - — called a Tie when placed over two notes on the name degree of the staff .pZ«- makes them 
one continuous sound. 

When placed over two notes on different degrees it is called a Slur mi indicates that the notes it applies to are 
to be played in B smooth and connected manner. 



Three notes played in the time of two of the same kind are called a Triplet, and are indicated thus: 
\ Sextolet is a group of six notes played in the time of four of the same kind, kv 000000 



ur 



The ? called a 5ityn;direot8 the player back to where it was previously indicated, for the purpose oi repeating 

a certain portion of the music. . 

l" II S» 



Apassa-4eti1.it repeats,soinetimes has two endings indicated thus-. :jl rhal marked '19' is to be pi 

the lii-^t time and the other '29 'the second time. 



Everymeasure has i<*> natural or primary andseoondarj accents, besides other smaller subdivisions. When the 
natural accent is pervei ted and made to fall on an unaccented division of the measure it is called Syncopation. 



-'•^mp 



When a stronger accent is required than ih.it irhicb natural]] belongs to a note il i indicated bj one i 
brother of the ro] lowing Kigns called Accent Murks. \. - 01 j% called Forsando t ./ forxando, and 

soinet imes ff- , according to the degree • ■! accent desired. 

When a group of notes 01 1 measure thai i- lobe repeated, is written like the following, it 1 - * .« 1 1 . « t / 

1 . j ^b 1 ^^* 1 • J ■ 

77: y 1 ..-."* -..-' -^>\ * I**. 

^— ^*» m • 

Dlhi'l Pftl lilw II afc — ^ - m m 



oilni forms. 



ORNAMENTS. 



The chief musical embellishments are the Appoggiatnra (or Grace Note), the Gruppefto (or Turn), 
and the Trill (or Shake). 



APPOGGIATURAS. 



The Appoggiatura is a small note placed before a principal note for the purpose of ornamentation 
or effect. There are two kinds of Appoggiaturas in common use _ the Long- Appog-g-iatura, which takes 
one half of the time -value of the principal note before which it is placed and also receives the accent_ 
and the Short Appoggiatura, which is played very quickly, the accent in this case falling- on the princi- 
pal note. 



Long Appoggiaturas. 



Written. 



Played. 



i==^ 



^ 



e=m 



± 



^m 



m 



Short Appoggiaturasv 



Written. 



Played. 



m 



m 



± 



m 



& 



A group of Appoggiatura notes sometimes precedes a principal note. These notes are played very 
rapidly and the principal note receives the accent. 



Examples: 



fe 



'-r ijj- M T.-r ^ 



and other forms* 



THE GRUPPETTO (or Turn). 

This musical embellishment is a group of notes ( 3 or 4, as the case maybe) consisting of a princi- 
pal note and the next note above and below it. It is indicated by the sign ev. There are several forms of 
the Gruppetto as will be seen by the following examples. 



.9174-70 



9 



Examples of the Gruppetto. 



When the sign is 
placed above a note 



It is played thus: 



Principal notes. 

e/5 



$m 



mr$* 



If between 
two notes it is 



played thus.- 



m 



m 




m 



- 



£=m 



p-m+ 




m 



If after 

a dotted note 



Thus: 




When ;i note in tne Gtmppetto is to be sharped or flatted, either above or below the principal note, or 
both, the Bign is expressed accordingly, in the following manner: 



1> below: 



Played: 



us 

i- 



o 



M 



I Jffl. J 



p above; 



Played: 




p above and 2 below: 



Played: 




jjNd;,..,./ ^ 



Written: 



Played: 



^* 



. 



* i- .-~ ^ 



Tin: THILL for Shake). 



The Trill is a rapid alternation of two notes .1 tone or a semitone apart. It is indicated by the sign 
ft* placed above the principal note, the alternating note being the one next above It? Then 
kinds of trills „ the Buffet Trill, (with finishing notea the fmperftd 7VW, (without finishing notes 

and the Mordent* «>r short trill, indicated thus ** . 

*Pom«»tlnw< fka n>t! <>nr brl.nr t 
ftfff- 7!> 



•-FORD L ON 

TT»< ' VNOOUN S IAIU* 



10 



Written: 



Played: 



i 



<tr 



Examples of the Trill. 



Perfect Trill. 



«. ». * -* ■•-% » *. -v * * v -t ■». *.-» -w* ■vv •»-vv*-»-»--**.-v-».-w *.*.-* >V\>\ttV\>«\1^« 



-o- 



H 



Principal note. 

Principal note and alternating- note 



Finishing notes. 

Finishing 
notes. 




P^ 






Imperfect Trill. 



Written: 



Played: 



Principal note without finishing" notes. 




m 



Mordente (or Short Trill). 

Written: 



m 



Played: 



?=? 



iw qj 



OTHER SIGNS. 



Tremolo. 

Avery rapid repetition of the same 
tone is called Tremolo 



Arpeggios. 

When chords are to be played in the 
manner of the Harp it is called Arpeggio. 



Written: 



Played: 



Tremolo 




Written: 



Played: 






■G- 



p, piano . . . . means soft. 



pp, pianissimo 

/> forte : 

ff, fortissimo 

mf, mezzo -forte 

fp, forte -piano .... 
fz, sf or :=► sforzdndo 
crescendo, cresc. or — 
diminuendo, dim.ov 



very soft. 

loud. 

very loud. 

half or moderately loud. 

loud and immediately soft again. 

sharply accented. 

increasing in loudness. 

decreasing in loudness. 



.9.774 - 79 



Excelsior Method For 
THE BANJO 



11 



C Notation 



The modern banjo consists of a rim varying in size from ten inches to twelve and one haif inches in di- 
am.iter. The head is drawn over the rim and kept very tight by brackets. The arm or neck upon which the 
fingerboard rests is firmly attatched to the rim. 

There are twenty two frets set into the fingerboard giving a range of three octaves from the open bass 
string to the upper fret. The raised piece of ivory or ebony over which the strings pass near the pegs is 
called the nut. 

The tailpiece is at the extreme end of the rim. 



The Strings and Bridge 

The five strings of the Banjo are the 1st string, (D); the 2nd string, (B); the 3rd string, (6); the 4th 

string, (C); the 5th string, '(J). The 1st and 5th are the same size; the '.'ml string is a grade Larger, and the 
3rd string a grade larger still. The 4th string is made of white silk, wound with .silver wire. The Bridge 
over which the strings pass should stand at exactly the Same distance from the l'ith fret, that the latter 

stands from the Nut. 



The Strings 



* 



tth 

string 



3rd 

string 



2nd 
string 



Lsi 
string 



^ 



5th 

string 



£ 



C (J B I) 

These sound an octave lower than written. 



G 



How To Tune The Banjo 

Firsttunethe Ith string by means of a pitch-pipe, piano, or other instrument to C, an shown in the 
diagram above. Then place the second ringer on the Beventh frcl of the »th string,and tune the - J r « i Btring in 
unison with it, producing <J. Next, place the Bceond finger on the 3rd string, at the Fourth fr«1 and tune thi 
2nd siring In unison with it, producing B. Next, |>l ice the second finger on the third t'n-t of the '.'ml siring, 
ami tune the l-t string in unison with it, producing I). Lastly, place the Becond finger on Mir fifth fret of 
the I -i string, and tune the 5th string in unison with it, producing <l, an octave nbove the 3rd string. 



t.,t';4-64 



12 

Holding the Banjo 

The performer should sit in a natural position, the right foot raised either on a footstool or by placing 
the heel against the chair leg. The rim of the banjo should rest on the right leg about four inches from 
the body. It is kept in place by a moderate pressure of the body on the upper part of the rim. The arm 
on neck of the instrument should be raised so that the pegs are in line with the chin. Support the neckat 
the nut in the hollow between the thumb and largest joint of the forefinger of the left hand, the thumb be- 
ing on the upper side of the neck, at the nut, with the first and second fingers arched, directly over the 
first and second strings. The right forearm should rest on the rim, the little finger resting on the head 
about three inches in front of the bridge to steady it. The little finger remains on the head in all playing 
except in chords of four or five notes and in drum slides. 



Sign, For Fingering 



RIGHT HAND 
* indicates thumb 

1st finger 
2nd " 
3rd " 



F 


igure 


1 


indicates 


1st 


finger 




»» 


2 


»» 


2nd 


»» 




>» 


3 


»» 


3rd 


»» 




>» 


4 


>* 


4th 


n 



Diagram of the Banjo Finger-board 

Showing the Chromatic Scale on each String 




151G4-54 



13 



N i 



It was customary until recently to indicate the short string by a flag m or m but few of the writers of 
the present day use it. A cipher F ■ is now placed over the note. 



Rules for Proper Tone Production 

The thumb of the right hand should never bend after striking a note, but kept rigid. The fingers should 
be trained to pick the strings firmly. Never pick a string up but across, as by so doing the disagreeable twang 
is eliminated. Never permit the thumb to pass under the f ingers,but keep it at least an inch in front of the 
first finger at all times. 



'Exercise On the Open String 



Repeat several times 




(§>.<$ <S> <D <S> . <$ 

Encircled figures indicate the strings usell. 



Scale in C Major 



4th String 

C D 6 E 



3rd String 
G A 6 



P^ 



2nd String 1st String 

B C I) B 



k«u o* 1st String „ 

5th Str. . B 6 C 



Frets 
Fingers ° 



10 
4 



# 



JHH^ 



j 



B 



r 



m 



10 

4 



Chords In C Major 



i 



I * & = * *F 



# 



() O 

— - 4h- 

*> 

^ 

i 



o i) 

DT_ 

L — 



i 



o <) 

+ 

■ 



I) () 
- — $>~ 

1 



t.;/r;t-.,4 



14 



Scale Exercises 



The following five exercises should be practiced faithfully until the student has firmly located the notes 
and proper fingering. Repeat each exercise several times. 



* . x. 



1 3^ 



r r ir J J ■ * 



m 



m 



* 



Fret 2 4 5 

Fingers 13 4 



4 2 

3 1 



2 1 2 

2 1 2 



#^P# 



3 2 

4 2 



7 9 10 9 

13 4 3 






Melody- Banjo Shuffle 



Left fingers „ 

2 1 2Q2 12 0212^212 2000 



IT 



2.2 1 



m 



as 



zLPtiu 1 ^ 



v>* 



2 j 1 j 0212 000012 



^WT^cn i dP p 



ti: 



i<[£i;i ■ 



ir>lf;4-. : i4 



Alabama Echoes 



15 



■rrJrJr-T i r 



• m m 



3E 



r ■ r-nr 



a 



rf, rrrT r ; r . ; i r r i r^fcj^ / r j rJ » i j r f -zm 






r r s cur r-ff-E^-i 



ffeA y 



^ 



F^» 



^iifj-irr r nr J.J L Tir f r » 



r r c j I 



»• m 



^m 



u \ dOu& v ^ : l 



* The slur indicates that the airing is to be snapped without the aid of the right hand, pick D in the usual 
way and sound B by pulling the string with the 4th finger of the left hand. 

The Slide 

The slide is made by picking the first note then quickly sliding the finger to the following note on the 
same string. In slow movements both notes are sometimes picked but never when slide begins with a 
small note. 



Waltz Petite 







/•> M4-5* 



+ * 



slide 

* 



fc 



m 



**. ■*■ 






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In pieces marked Tune 4th String to D, or Elevate Bass String, it signifies that the Bass or 4th string 
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19 



The Positions 



Position marks are determined by the fret at which the first finger of the left hand is located. In this 
work the terms Bar, Barre and Pos-Bar are not used as the writers of the present day have discontinued them. 
Figures enclosed in a circle denote string. (D 

Examples 



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21 



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24 



Exercises In Intervals of Thirds, 
Sixths, Octaves and Tenths 



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The Chromatic Scale 



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27 



The Tremolo 



The Tremolo movement is the nearest approach to a sustained tone possible on the Banjo. When ar- 
tistically performed it is very effective. 

In playing Tremolo, rest the third finger of the right hand on the head about three inches from the 
bridge, elevate the hand so that only the point of the firs finger will touch the strings. 

The motion of the first finger should be forward and backward very fast on one, two or three strings ac- 
cording to the number of notes written. 

The notes with stems turned up are made tremolo, those turned down are all picked with the thumb as 
an accompaniment. When the tremolo is to be played without thumb accompaniment the stems may be 
written as usual. 



Exercise 



Tremolo on single strings. 



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Tremolo on two and three strings. 



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Sons? Without Words 



TREMOLO STYLE 

In the first part the melody is to be played with the thumb, therefor play the tremoloed accompaniment 
very softly. In the second strain play tremoloed notes louder picking the thumb notes softly. 



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30 



Exercise For Stretching The Fingers 

The fingers should be kept down throughout the duration of each slur. 



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31 



Exercises For Rapid Fingering 



Allegro 



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Old Town Medley 



(Virginia Reel) 



Elevate 4th String 

THE MAID ON THE GREEN 



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33 



MARCH 



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The Chieftain 

March and Two-Step 



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Piano Accomp. to this piece price ZO cents 



Bolero Mexicana 



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35 
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A Georgia Glide 

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Harmonics 



The Harmonic Tones on the Banjo are found at the 3rd, 4th, 5th, 7th, 12th, 16th and 19th Frets on the four regular 
Strings, and on the 17th Fret of the 5th String. They are made by laying a Finger (usually the 3rd) over the Fret 
designated. Do not press down, but lay the Fingers lightly on the Strings and pick firmly. The Left Hand should be* 
raised immediately after picking the Harmonic. 

Exercise 



12 Har. 



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as though they were the regular Tones produced. 



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Right Hand Harmonics 



When Right Hand Harmonics are well executed the effect is beautiful. To do this well requires much patient prac- 
tice. The 1st Finger of the Right Hand should be arched so that the point lays on the String at the required Fret, 
the String being picked with the Thumb underneath. Form the Harmonic as far away from the 12th Fret as the Note 
required is from the Nut, for instance if C ] is desired, simply lay the tip of 1st Finger over 4th String at 12th 



Fret and pick the String with the Thumb. If D J is desired, finger it with the Left Hand as usual and form the 
Harmonic at the 14th Fret. 



I 



Scale in Right Hand Harmonics 

12 14 12 13 12 14 15 *? "%. ig. &L 



19 



21 22 



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1*164-54 



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Allegro 



43 



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By E. M. HALL 



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54 



The Plectrum Style of Playing 

Playing with a pick or plectrum is not difficult after one has mastered the legitimate method given 
in the preceeding pages. The pupil should use a stiff plectrum made of tortoise shell or composition rubber. 
This is held between the thumb and first finger of the right hand, firmly but not so tightly that the rigid- 
ity is transmitted to the wrist which must always remain flexible. In playing always arch the wrist, 
and begin by playing softly. Continue to play softly untill the tremolo is mastered. 

As the 5th or short string is never used in this style of plaving it is well to lift the 5th string from 
the slot in the bridge when using the plectrum letting it rest against the outer edge of the bridge. 

Almost any song arranged for piano can be played on the banjo in this manner. 



Signs for Plectrum Strokes 



Down Stroke 

n 



Up Stroke 
A 



On account of the absence of the 5th string it is necessary to use a different system of fingering on 



the first string. 



Scale in C Major 



All down strokes 

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56 



The Plectrum Tremolo 



For sustaining tones the tremolo is indispensible. The following exercises lead up to the perfect 
tremolo. 



h nAnAnAnA 2 i!i n An A nAn A n A n A n 

> . k mmmm r * wm — ■_«_■_■_ |r _ - _ B _ B — ^ _ — 


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16 strokes 8 strokes Sstrokes 



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Etude 



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Important Exercises 



57 



To maintain even strokes it is often necessary to make several notes on each string. 




Finger all notes on 4th string 
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Easy Melodies 
Plectrum Style 



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(with plectrum) 
HAnAnAnAnAnAn A n A n A n 



59 



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As the other scales are fingered practically the same as indicated in finger style of playing, they will 
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Etude in Q Major 

To make strokes even play D on 2nd string as indicated 



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All The Rage 

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61 



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BANJO (Plectrum style} 
Allegro moderato 



In Moon-Land 

Intermezzo, Two-Step 



^ mfpiu lento ' *^J^" mf acce h — // 



63 



HARRIE A. PECK 

Arr.by G. L.Lansing 



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64 

BANJO SOLO. 

C Notation. 



THE CADET'S DREAM. 

PATROL. 

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Piano Accomp. to this piece price 20 cents CLIFFORD E. LEIGHTON 
12832-15 CACHE* OF MANDOLIN & »ANJ* 

STUDIO 
RAH* CBNGBESS STBEST 



Fine. 
D.S.al Fine. 

Softer to Fnd. 



METHODS 



Master 






TE> 




By GEOR< 




In addition 


■ 


author has prese 




stroking, thus giv 




which is essentia 




music of the pre 




The signs 


u 




methods are al 






The book 






pieces for tenoi 




Boston Public Library 


tenor-banjo and 




Central Library, Copley Square 


Pri 




Division of 










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Please do not remove cards from this 


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and Tr 






Tyi 







- — *-Mor Banjo Method 

C Notation) 

RGE L. LANSING 

- Style and Plectrum, with 
ion for proper playing. 
: 38 Banjo Solos (C nota- 

insing is recognized as one 

?erformers and nwst suc- 

the country, and this work 

thoroughly practical expe* 

f 5 Gents Post-Paid. 



►phone. 

of any to master, but one 

Graded Systematic Course 
and be convinced. 



3S FOR 

RNET, TROMBONE (Bass 
Drum, Bass Drum, 
JITAR, PIANO, 



POINTS OF EXCELLENCE. 

Rudiments clearly and concisely explained. Easy and Progressive Exercises. Explanatory 
Diagrams for each Instrument. Enables a Pupil to learn any of these Instruments, with or 
without a teacher. 

Price 75 Cents each, Post- 




White -Smith Music Publishing Company 



NEW YORK 



CHICAGO 



mmmmtmntmmmmmmmmwmm 



FEB ?1927 



CAUTION 

Do not write in this book or mark it with 
or pencil. Penalties are imposed by the 
•i the Commonwealth of Mas- 
sachusetts, t hapter 208, Section 83.